Georgina Duncan achieved a significant milestone in her career when her play, Sapling, was awarded the Women’s Prize for Playwriting last week. The announcement, made by Indhu Rubasingham, left the 30-year-old playwright in disbelief as she realized the recognition was for her work. “The first sentence I heard her say, I was like, ‘That could be any of the plays.’ Then I was like, ‘Holy shit! This is the maddest thing that’s ever happened to me,’” Duncan recalled, expressing the emotional weight of the moment.
Set in Belfast during the 1990s, Sapling tells the poignant story of 16-year-old Gerry, who grapples with the traumatic murder of his older brother, Connor, a decade earlier. Duncan described the play as exploring “the scar tissue behind grief,” a sentiment that resonates deeply with her own experiences and fears of loss. She emphasized that grief is a universal theme: “Grief is something we all experience in our lives. And it frightens me.”
Duncan’s journey to creating Sapling involved substantial research, including prison tours in Belfast and discussions with local actors. “I paid them with a pint and a bowl of chips,” she noted. Her commitment to authenticity is evident in the way she captures the complexities of a community marked by conflict. The play, which has garnered attention for its vivid characters, reflects Duncan’s background as a trained actor. She graduated from the London Academy of Music and Dramatic Art in 2018 and has performed in productions such as The Mousetrap, the world’s longest-running play.
Duncan’s passion for storytelling is rooted in her childhood experiences in Lancashire, where she found inspiration in music and performance. Despite her working-class upbringing, her parents encouraged her artistic ambitions. “I had working-class parents, they’re not from this world at all. We were quite skint, but they did everything they could to help me,” she said.
Initially focused on acting, Duncan turned to writing after taking a break from the stage. She joined the Soho Theatre’s Writers’ Lab, where the foundation for Sapling was laid. Much of the play was crafted on her phone during commutes, demonstrating her dedication to the craft. “I’ve stayed on tubes way longer than I should have because I got into a flow state,” she added.
The road to success was not without its challenges. Duncan revealed that while Sapling was submitted for various awards, it often fell short. “It was like the nearly man. The industry is so tough for people starting out, especially for people emerging with no context or anyone in the industry to open doors,” she explained. This makes the importance of awards like the Women’s Prize all the more significant.
Launched by producer and writer Ellie Keel in 2019, the Women’s Prize aims to elevate female voices in a historically male-dominated industry. In its 50-year history, the Olivier Award for Best New Play has only been awarded to a woman seven times, highlighting the need for initiatives that promote equality among playwrights.
The £20,000 prize attached to the Women’s Prize will support Duncan as she continues to explore her craft. “It is the greatest gift. This prize has completely changed my life,” she stated. For the first time, Duncan feels empowered to identify herself as a playwright. “I feel,” she remarked, “like I’ve been legitimised.”
As she looks ahead, Duncan aims to deepen her understanding of the writing process and create more impactful works. The recognition from the Women’s Prize not only marks a pivotal moment in her career but also signifies a promising future for this emerging talent in the theatre world.
